New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-04-28
MUSIC-THE DRAHA.
MUSIC FOR aMACBE TIL"

At Chicksring Hall last night before an audience
for the greater part of more or es
Intimately related to the theatre and by the token Of
their applause admirers OF the style of defamation
of which Mr. d. II. Harkins 10 puissaat exponent,
some incidental music to Macbeth composed by q
Young American musician named Edgar s. Kelley was
performed under the direction OF Mr.. Frank Van der
Stucken. The performance took place under the
auspices Of Mr. Mckee Rankin and the elaborate
pamphlet programme, pref AIRED to guide befo1xsd
intcccts through tho maza OF NJ Kelly's score ike
the innumerable handhooks to Wagners dramas
which witty critic calls Musical Baedeckers,"
frankly announced that ii was preliminary to the
spectacular production of the tragedy by Mt RANKIN
at Niolys Garden, October 81 NEXT
There was much else in the pamphlet calculated to
inspire the belef that the light OF frontier nteectu
atty Is about to maze plain tc long benighted COM
munty the hidden things in Shakespeare's tragedy.
From il we learned that Mr. Kelley is called the
American Wsgner," in San Francisco that his
music is intended to echo the thoughts OF the great
dramatist that to speak Of the various times that
Mr. Kelley's music has been produced would take up
too much space, but IT'S importance was stamped
when 10 was admitted to be the greatest incentive to
the longest recorded Iun OF Macbeth the run in
question having been made under the training OF
Mr. Rankin in San Francisco. IN November 1889.
The also supplied with ready-made opin-
ions of the artistic value OF Mr. hankins versioL and
Mr.. Kelleys music cut out OF San Francisco news
papers, from which it appeared tat the music was.
the most wonderful Of American productions that
it was not mere harmony" but intellectual
lnusc and again that NJ Kelley 10 easily one thing
the Wagner of American music and F" the first
American to write really great melodramatie music tor
the stage"
II we were disposed to subject Mr. Kclleys music to
detailed examination and criticism We should hold IL
necessary orde, that the decks might be clear tor
action to say at the outset that for utteranees like
those that quoted the writers and all oee
abect apologies, not only to the names OF the illus
trions dead. but also to Mr. Kelley to whom in the
they will be in moro respects than one clog II
not indeed milestone. But the occasion does not
call tor so much seriousness OF treatment Mr Kelley
has written tour set pieces OF music OF fair densions
in two of which glad to recognize evidences Of
good musiciansh'p They are the overture, and a
tire In addition to the set pieces he has written
several short bits which serve a. ntroductions and
inteudes and pieces OF socAled meiodr amatic
music. These latter pieces are expected to accom-
pany the dialogue and Mr.. Kelley, misconceyins an
idea oil Wagner's has constructed them out OF num-
he attributes certain potential qualities which far
rs they spring from ans thing, spring from MATERIAL
istc conception of the mission OF dramatic music,
and which he handles with considerable skill, so tar
as orchestraton Is concerned, and with very smaI!
skill In respect OF variety in treatment we need
cite but one instance ~ make bis plan clear. In inc
music which accompanies Lady MacbetRs" solu'
oquy while Macbeth is doing the murder, an I'M
itative monotone phrase on the stopped horns Is
that shrieked" This phrase recurs. atterwaru when
Macbeth says " sleep more" Mr. Kelley has
materialized the voice of Macbeths" conscience,
a proceeding which with the imagination OF o
roasted peanut will thank him tor.
The overture has a peculiarly impressive open
ing and is effectively orchestrated like many OF tho
other bits in the score though the general color
effect is monotonous His march is better ID sic thar
that ordinarily written Tor the theatre but in spite OF
q deal OF ambitious striving he has made a battle
piece q prelude to the last act which IL us
cacophony its abuse of device OF Wagnsrs which is
arvellously effective in Lohengrin" and its con-
stont reterstion OF small IDEAS and haekneyed edects
il scarcely worth serious consideration For the sake
of American music il is he regretted that Mr.. KEEL
Ieys work was brought to the first hearing OF New
a. 81 - .nnA1
and with 80 much preliminary blazcn OF its supposed
ers tor the talent that produced t might doubtless
in time bring forth something which would coumand
the respect Of ALL However, il the Judgment OF the
musical people OF New-York in out tune with that Of
San Francisco Mr.. Kelley will be able to take refug
behind the old axiom that genius appreciate
when IL IA yOung